Style trumps substance in several recently viewed movies: from Stefano Sollima’s troubling depiction of mythic threats on the U.S. southern border in Sicario: Day of the Soldado (2018) to Julius Avery’s disappointing exploitation of World War Two horrors for cheap thrills in Overlord (2018), from Drew Goddard’s ersatz Tarantino-like narrative play in Bad Times at the El Royale (2018) to Kenneth Branagh’s glossy rehash of Agatha Christie’s Murder on the Orient Express (2017).
More brief notes on recent random viewing choices; another mixed bag of classic fantasy, generic thrillers, dramas drawn form real life, spectacular martial arts and gritty war action, and a scattershot, off-the-wall satire by “the world’s worst living director”.
Two Blu-ray releases from Indicator represent shifts occurring in American filmmaking at the end of the ’60s, with Don Siegel’s near-perfect heist movie Charley Varrick (1973) quietly trashing all the rules once imposed by the Production Code and Alan Arkin’s directorial debut with Jules Feiffer’s Little Murders (1971) offering an unsettling, blackly comic dissection of the violence at the heart of American society.
Terry Gilliam began to forge an identity separate from Monty Python with a film which seems superficially Pythonesque, but on closer look is a darker, richer and more dangerous view of an absurd world. Criterion’s new Blu-ray of Jabberwocky draws out every detail of a richly imagined Medieval world of blood, filth and horror viewed through Gilliam’s comic lens.
Darren Aronofsky’s mother! (2017) is a religious allegory disguised as a horrific comedy of social unease. Original and completely unhinged, it features an excellent cast and audacious imagery which has been unsettling and confusing audiences and critics.
More notes on recent viewing, from a sadistic thriller to emotionally resonant anime, from a literary adaptation to two investigations of racism in America.
Sacha Guitry’s La poison (1951) is a deceptively light and witty comedy about murder; beneath the surface it is a bitter dissection of a society devoid of morality.
His Girl Friday (1940) and Only Angels Have Wings (1939), two of Howard Hawks’ most critically acclaimed movies, have received excellent treatment from Criterion on Blu-ray, along with a restored transfer of Lewis Milestone’s pre-code adaptation of Ben Hecht and Charles MacArthur’s play The Front Page (1931), the source of Hawks’ cynical 1940 romantic comedy.
Criterion release a subtle masterpiece of Spanish cinema in Luis Garcia Berlanga’s The Executioner (1963), a dark critique of life under the Franco regime disguised as a domestic comedy.
The Criterion Collection has released an impressive hi-def upgrade of Leonard Kastle’s gritty, blackly comic true-crime feature The Honeymoon Killers (1979).
Kenneth George Godwin, Film Editor
I have been editing a wide range of film and video projects, both documentary and drama, for two-and-a-half decades. I started at the Winnipeg Film Group, cutting on Steenbeck 16mm flatbeds, adopted Avid in 1995, and have used FinalCut Pro quite extensively over the past ten years. Projects I have worked on have screened – and won awards – at festivals around the world.read more >>
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